Ref: A0227 (03/06/2007). Salary £20437 to £23692 pa, Grade 5. CENTRE FOR CREATIVE DESIGN & TECHNOLOGY. This is a new position for a Research Assistant to work for a period of three years with the existing team of content producers for the Full Dome Immersive Vision Theatre on the Plymouth Campus. The post will develop dynamic content drawn from diverse disciplines located in the Faculty of Technology, developing traditional computer modelling techniques (such as CAD and VRML) through to abstract dynamic data modelling (from areas such as ecological and intelligent buildings, data mining, and computer network activity), through to scanning electron and atomic force microscopy imaging and links with modelling applications for rapid prototyping technologies. For an informal discussion, please contact Mike Phillips on 01752 232549 or email mike.phillips@plymouth.ac.uk. Interviews will be held on Wednesday 11 July 2007. CLOSING DATE: 12 NOON, FRIDAY 15 JUNE 2007.
Arch-OS interpretation by Justin Roberts performed at the Peninsula Arts Contemporary Music Festival ‘VOICES II’. Friday 23 February 2007. Cube 3 Gallery, Portland Square , University of Plymouth. ‘Columbia Livia’ , part of a two-site installation, ‘Salva me’, commissioned by B ath Festivals Trust as part of a Year of the Artist Residency, and shown at the 2001 B ath International Music Festival, was ‘reversioned’ for a new installation through Arch-OS ( www.arch-os.com, an ‘Operating System’ for contemporary architectures). The Columbia Livia + Arch-OS version references ‘flocking’, a computer modelling technique coined by Craig Reynolds (1987) for the coordinated motion of groups of particles or ‘boids’. The visualisation of these algorithms mimics the flocking of birds and demonstrates principles of self-organization and the emergence of behaviors. The ebb and flow of people activated an acoustic ‘flock’ of birds (boids) that spun and wheeled around the void of the atria. ‘Columbia Livia’ deployd the sonic architectures enabled by the Arch-OS 56 speaker – 3 D sound system. A crucial feature of this version of ‘Columbia Livia’ was the emergence of unpredictable ‘complex’ sonic behaviours over the duration of its performance. http://www.arch-os.com/
7th – 8th February 2007 An trans-disciplinary masters workshop in RFID: Download Revisioning the Library Workshop PDF:
The RFID workshop over two days was a chance to speculate on the future of the library. The library is undergoing self-reflection on the relation between its physical and electronic resources, spaces and systems. The starting point for rethinking these relations was to introduce technologies that can store and transmit data, and to begin to imagine scenarios where the physical and digital objects collapse onto eachother. Might agency extend not only to readers but to the books themselves in such a scenario?
Francis Hunger, ‘How I Learned to Love RFID’, HWKV 2006, http://www.hmkv.de/dyn/e_program_events/detail.php?nr=1239As many other technologies, which are basically used in the civil sector, the basics of RFID were commissioned and developed in the frame of military research. In late WW II the British Royal Airforce used “tags” on their planes to decide whether it was a “friend or foe”signal that was reflected by radio waves, used in radar technology. 1RFID uses a similar basic concept. A radio wave is sent to a transponder – more commonly called “RFID tag” – which then wakes up, consumes the energy of the initial radio wave and sends back datato the sender/receiver unit. Through the 1950s to 1960s, this concept was developed into electronic anti-theft devices that were in fact 1 bit RFID tags. They could be set either on or off and would signal ifa person has paid and the cashier did subsequently
deactivated the tag. So the theft alarm devices that are positioned on each entrance/exit of shops are very basic RFID readers. In the 1970s several patents for RFID applications where issued and passive and active tags were developed in the private sector and in military research. Today they are intended and used basically for supply chain optimization inlogistics. Context:
Bruce Sterling, ‘The Internet of Things: What is a Spime and Why is itUseful?’ In the future we may be able to find lost keys with a simple googlesearch. Science fiction writer Bruce Sterling imagines how physical objects will be part of the internet as they become trackable in space and time. Bruce discusses the theoretical and technical challenges that we face as we try and think about and develop the Internet of Things. From Spimes to Thing Links to Blogjects, the terminology and verbal framing devices currently being used are pulled apart in this keynote address from the 2006 O’Reilly Emerging Technology Conference. Duncan Shingleton, ‘RFID and the Internet of Things: You are part ofthe Global Network’, 2007, http://www.shingleton.org/?page_id=142Objects tagged with a Radio Frequency Identification (RFID) chip have a unique digital identity and play a pivotal role in joining the physical world with the digital. A resulting ‘Internet of Things’emerges, consisting of networked objects that are capable of communicating what they are, and what is going on in the space around them. This is the moment where the real world and the Internet become inseparably linked, occupying the same space, becoming the same reality: a merging of 1st and 2nd Life. Current theory surrounding the Internet of Things maintains the viewpoint we are outside the network and in control of the agency we have over our objects. The tagged object’s role in the Internet is to streamline economic practice and make our lives more convenient. However I propose and alternative hypothesis for addressing the theory that RFID now means we are included within the Internet of Things, and not spectators of this new digital age. There is a resulting transfer of agency as objects become active members of society, contributing to social debate, as we see what can only be defined as a truly ubiquitous network environment emerging, where the real is intrinsically bound with the digital. Wikipedia definition of RFID, http://en.wikipedia.org/wiki/RFID
02/2007:
Produced in partnership with Spacex, Minimation Booth was an interactive workshop space located in Spacex’s atrium. It was designed to accompany Spacex’s exhibition ‘The North’, by Tim Brennan and as part of Animated Exeter 2007. Using mobile phone cameras participants were able to make low-res animations, which they could transmit by Bluetooth to a screen via V-Mob, free software designed by IDAT. The finished animations were then emailed to the participants at their school or home. During the public week (20-24 Feb) participants were also able to use a brand new piece of software called Pixel produced by Justin Roberts of i-DAT and commissioned for this project. This software enabled visitors to make a pixel animation and take it away immediately on their phone. http://www.spacex.co.uk/
(15/12/2006) i-DAT & The Bartlett School of Architecture are collaborating on an SEM (Scanning Electron Microscope) and Rapid-prototyping workshop to generate an exhibition to be installed in January 2007 at University College London. The workshop and seminar are part of Nascent Research Digital Knitting Practice based research workshop, the Tran-Technology research Seminar series (Looking into the Eye of God) and the Invisible Architectures module for m-DAT. This continuing collaboration with Unit 20 of the Bartlett School of Architecture builds on last years Arch-OS workshop held in the IVT.
(11/12/2006) 11 December 2006. thesongrooms.org launch concert at The Unicorn Theatre, 147 Tooley Road, London SE1. Featuring children from Richard House Hospice, London, Island Hospice, Zimbabwe and a choir from St Gabriel’s Primary School, London SW1. With support from professional musicians including DJ, MK, Ricky Rankin and Theo Gordon.
November 30, December 1 and 2, 2006. SESC Paulista, Avenida Paulista, 119, Sao Paulo, SP, Brazil, Phone (5511) 3179-3796 (25/11/2006). The idea of this forum is to establish an open dialogue between general public and people dedicated to the interface between art, consciousness and technology. In the forum, the question plays the major role of relating the complexity of the participants projects and issues of daily reality in the voice of the invited perguntadores (‘question makers’). The perguntadores will be intellectuals related to each of the five main topics of the round tables, but not particularly engaged in the context of art and technology. F.A.q. gathers 17 members of the Planetary Collegium, Brazilian artists and prominent intellectuals in the fields of science, culture and thought in a program of three days of lectures, round tables and commented digital art shows.
Dr Paul Thomas, Artistic Director of BEAP.(Biennale of Electronic Arts Perth 2007) will be the i-DAT Interactive Architecture Resident artist during the month of July. Thomas will be further developing Arch-OS through the i-500 Project extension. With funding provided by Curtin University the residency will focus on the articulation of the dynamic data generated by the public art instillation to be incorporated into the fabric of the Curtin University of Technology Minerals and Chemistry Research and Education Precinct buildings. http://www.i-500.org
At 6pm on the 22 July, during the Consciousness Reframed, 8th International Research Conference (21 – 23 July 2006) the ‘Sloth-bot’ will be launched as an extension of the Arch-OS project. Sloth-bots are large autonomous robots that move incredibly slowly (between 5mm and 20mm a minute). Sloth-bots, influenced by their interactions with people, imperceptibly reconfigure the architecture. Sloth-bots build on robotic technology developed by Dr Guido Bugmann, famously incorporated into Donald Rodney’s ‘Psalms’ which was exhibited in the South London Gallery as a part of Rodney’s last exhibition entitled ‘Nine Night in Eldorado’, in October 1997.
‘Constellation Columbia’ is an autonomous space monument inspired by the writing s of J.G. Ballard. The scale/model/prototype seen on the Culture Show incorporated simple audio/radio recording and transmission, gyroscopes, gravity switches and light sequencers. The work is being developed for inclusion in future zero gravity flights with the aspiration for a full scale release from the International Space Station.
‘Constellation Columbia’, prototype monument for ‘Dead Astronauts/Cosmonauts’.
A survey of Arts Catalyst’s pioneering zero gravity projects carried out over the last 10 years. Beginning with a contextual overview, the book traces the development of the projects and discusses the collaborations with Kitsou Dubois and Imperial College’s BioDynamics group, and the inauguration of the MIR (Microgravity Interdisciplinary Research) consortium which gives international artists the opportunity to carry out individual projects in zero gravity. The book contains essays by Eduardo Kac, Marina Benjamin, Rob la Frenais, Kodwo Eshun, with an introduction by Nicola Triscott. It features projects by Kitsou Dubois, Mike Stubbs, Ansuman Biswas and Jem Finer, Andrew Kotting, Dr Antony Bull, Morag Wightman, Louise K Wilson, Flow Motion, Marcelli Antunez Roca, i-DAT, Otolith Group with Richard Couzins, Yuri Leiderman, Vadim Fishkin, Marko Peljhan, Dragan Zivadinov, Andrei and Julia Velikanov, Mikhail Ryklin, and Dr Rebecca Forth.
Zero Gravity Robot. Commissioned by The Arts Catalyst. as part of the. MIR Campaign 2003 at the Gagarin Cosmonaut Training Centre, Russia. MIR Campaign 2003 supported by the European Commission Culture 2000 Fund.
With thanks to Sam Kinsley, Max Phillips for fabrication.
Constellation Columbia, model/prototype, 2003. Zerogravity, A Cultural User’s Guide. The Arts Catalyst. 2005. Page 84-85 ISBN 0-9534546-4-9.
Zero Gravity: A Cultural User’s Guide
ISBN 978-0-9534546-4-8
Edited by Nicola Triscott and Rob La Frenais
Published by Arts Catalyst, 2005
Colour and monochrome, 98 pages, soft back
Dimensions 250mm x 250mm
Weight 510g
£15.00
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